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ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC.

HENRY B. CABOT President

TALCOTT M. BANKS Vice-President

JOHN L. THORNDIKE Treasurer

PHILIP K. ALLEN E. MORTON JENNINGS JR

ABRAM BERKOWITZ HENRY A. LAUGHLIN

THEODORE P. FERRIS EDWARD G. MURRAY ROBERT H. GARDINER JOHN T. NOONAN FRANCIS W. HATCH MRS JAMES H. PERKINS ANDREW HEISKELL SIDNEY R. RABB

HAROLD D. HODGKINSON RAYMOND S. WILKINS

TRUSTEES EMERITUS PALFREY PERKINS LEWIS PERRY EDWARD A. TAFT

THOMAS D. PERRY JR Manager

NORMAN S. SHIRK JAMES J. BROSNAHAN Assistant Manager Business Administrator

SANFORD R. SISTARE HARRY J. KRAUT Press and Publicity Assistant to the Manager

ANDREW RAEBURN MARY H. SMITH Program Editor Executive Assistant

Copyright 1967 by Boston Symphony Orchestra Inc.

JYMPHONY HALL BOSTON MASSACHUSETTS The Boston Symphony under Leinsdorf

In a recording of remarkable sonic excellence master Joseph Silverstein and the Boston Symj der Leinsdorf capture the atmospheric sorcery the most influential violin works of this century Concerto No. 2, and Stravinsky's Violin Conce equal imagination, Leinsdorf and the Orchestra ize the riot of color inherent in the scores of Korsakoff's "Le Cog d'Or" Suite and Stravinsk bird" Suite. Both albums recorded in Dynagroo\

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BOSTON SYMPHONY ORCHESTRA BsSBMSfeJ ^ •RICH LEINSDORF Music Director ^H'•.m

CHARLES WILSON Assistant Conductor

TRST VIOLINS CELLOS BASSOONS Joseph Silverstein Jules Eskin Sherman Walt Concertmaster Martin Hoherman Ernst Panenka Ylfred Krips Mischa Nieland Matthew Ruggiero eorge Zazofsky Karl Zeise Holland Tapley Robert Ripley CONTRA BASSOON John Sant Ambrogio ^oger Shermont Richard Plaster Luis tf ax Winder Leguia iarry Dickson Stephen Geber HORNS ottfried Wilfinger Carol Procter redy Ostrovsky Jerome Patterson James Stagliano xo Panasevich Ronald Feldman Charles Yancich sfoah Bielski Harry Shapiro lerman Silberman BASSES Thomas Newell tanley Benson Paul Keaney Henry heldon Rotenberg Portnoi Ralph Pottle William Rhein llfred Schneider Joseph Hearne lilius Schulman TRUMPETS Bela Wurtzler erald Gelbloom Armando Leslie Martin Ghitalla Laymond Sird Roger Voisin John Salkowski John Barwicki Andre Come ECOND VIOLINS Buell Neidlinger Gerard Goguen larence Knudson Robert Olson William Marshall TROMBONES lichel Sasson William Gibson muel Diamond FLUTES Josef Orosz eonard Moss Doriot Anthony Dwyer Kauko Kahila William Waterhouse James Pappoutsakis yrton Pinto Phillip Kaplan TUBA mnon Levy aszlo Nagy Chester Schmitz tichael Vitale PICCOLO ictor Manusevitch Lois Schaefer TIMPANI bshiyuki Kikkawa* Everett Firth jtax Hobart OBOES )hn Korman PERCUSSION Ralph Gomberg hristopher Kimber Charles Smith Dencer Larrison John Holmes Harold Thompson Hugh Matheny Arthur Press IOLAS Assistant Timpanist ENGLISH Thomas Gauger urton Fine HORN Laurence Thorstenberg euben Green HARPS agen Lehner rome Lipson CLARINETS Bernard Zighera Olivia Luetcke obert Karol Gino Cioffi do Akaboshi* Pasquale Cardillo >rnard Kadinoff LIBRARIANS Peter Hadcock ncent Mauricci Victor Alpert E\) Clarinet irl Hedberg William Shisler seph Pietropaolo bert Barnes BASS CLARINET STAGE MANAGER zhak Schotten Felix Viscuglia Alfred Robison ILLIAM MOYER Personnel Manager

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ymphony Hall and Tanglewood, where Koussevitzky, Kreisler, Vtunch, Rachmaninoff, Rubinstein, Muck, Heifetz and many others have played with the Boston Symphony, are full of great musical and Historical associations.

\s part of The Fund for the Boston Symphony, the Trustees of the Orchestra have established a program of Commemorative Gifts by which donors may express a personal interest in the Symphony and nay honor a family member, musician, or friend by linking their name with this historic past.

ift opportunities range from $1 million for The Koussevitzky Shed at Tanglewood, through $500,000 for a named concert series or The Concert Master's Chair, to $2,500 to name a seat in Symphony Hall. hey include individual concerts at Symphony Hall and Tanglewood, guest conductors and soloists, leaders of the sections in the orchestra, leaching positions at The Berkshire Music Center, and Fellowship

: unds. They also include facilities in Symphony Hall and at Tangle- wood—music studios, music library, Tanglewood seating, grounds and gardens. The list is broad, designed to appeal to the interests of all who love music and the Symphony.

Three of these named gifts already have been established:

The Charles Munch Fund of $1 million, for bringing outstanding conductors to Symphony Hall, with contributions totaling $540,000 from Henry B. Cabot, Edward A. Taft, Mrs H. Melvin Young

The principal Cellist's Chair will be named after Philip R. Allen, late Trustee of the Boston Symphony Orchestra, with contribu- tions of $100,000 from Philip K. Allen and other members of the Allen family.

The Augustus P. Thomdike Fellowship Fund, for a student at the Berkshire Music Center, with contributions of $25,000 from John L. Thorndike and members of his family.

ifts to The Fund are tax deductible, and may be deducted for in-

:ome tax purposes up to 30 per cent. If a gift exceeds the 30 per cent imit in any one year, the excess may be carried forward for a period )f five years. Donors considering commemorative gifts are invited :o discuss their wishes with any member of the Board of Trustees, or vith the Fund Office in Symphony Hall. L£0Vl4

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I ,?,

Contents

Program for November 16 1967 11

Future programs 61

Program notes

Brahms — Academic Festival Overture 12 by John N. Burk

Henze — Symphony no. 1 18 by Peter G. Davis

Rimsky-Korsakov — Sheherazade 24 by James Lyons

Hans Werner Henze by Peter Heyworth 38

Today's conductor

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EIGHTY-SEVENTH SEASON 1967-1968

m Second Program

Thursday evening November 16 at 8.30

CHARLES WILSON conducting

BRAHMS Academic Festival Overture op. 80

HENZE Symphony no. 1

Allegretto, con grazia Lento (Notturno)

Allegro con moto — Tempo giusto — Piu mosso

INTERMISSION

RIMSKY-KORSAKOV Sheherazade op. 35

Largo e maestoso - Allegro non troppo

Recitativo lento— Andantino: Vivace scherzando

Andantino quasi allegretto

Allegro molto — Recitativo — Vivo

BALDWIN PIANO RCA VICTOR RECORDS

1 1 Program Notes JOHANNES BRAHMS Academic Festival Overture op. 80 Program note by John N. Burk

Brahms was born in Hamburg on May 7 1833 an<^ died in Vienna on April 3 1897. The overture was composed in 1880, first performed January 4 1881 at the Univer- sity of Breslau. George Henschel conducted the first performance by the Boston Symphony Orchestra on November 17 1882. The Overture has been recorded by the Orchestra under Serge Koussevitzky for RCA Victor. The instrumentation: 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons and contra-bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, bass drum, timpani, cymbals, triangle and strings.

Brahms' two overtures, the Akademische Fest-OuvertiXre and the Tragische Ouvertiire were composed in one summer — in 1880 at Bad Ischl. It was his first summer in this particular resort, and although he was somewhat discouraged by an abundance of rainy weather, its charms drew him again in later years (1889-96). 'I must give high praise to Ischl,' he wrote to Billroth in June 1880, 'and although I am threatened only with one thing — the fact that half Vienna is here — I can be quiet here — and on the whole I do not dislike it.' Which is to say that Ischl had already become the gathering point of a constant round of cronies from Vienna. Brahms' friends of course would scru- pulously respect the solitudes of the master's mornings — the creative hours spent, partly in country walks, partly in his study. Later in the

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13 day he would welcome the relaxation of companionship — of conver- sation to an accompaniment of black cigars and coffee, of mountaineer- ing (Brahms was a sturdy walker), or of music-making together. When the University at Breslau conferred upon Brahms, in the spring of 1879, the degree of Doctor of Philosophy, the composer responded in kind, and made the institution the handsome present of an overture on student airs. Presents of this sort are not to be unduly hastened when artistic good faith and the heritage of the musical world are considered. Brahms composed and destroyed another 'Academic' overture before this one, if Heuberger is not mistaken. The performance came the following January, when Brahms conducted it at Breslau, while the Herr Rektor and members of the philosophical faculty sat in serried ranks, presumably gowned, in the front rows.

It goes without saying that both Brahms and his overture were quite innocent of such 'academic' formality. It is about a tavern table, the faculty forgotten, that music enters spontaneously into German college life. Although Brahms never attended a university he had tasted some- thing of this life at Gottingen when, as a younger man, he visited with Joachim, who was studying at the University. Brahms did not forget the melody that filled the Kneipe, inspired by good company and good beer. Student songs, with their Volkslied flavor, inevitably interested him. He found use for four of them. Wir hatten gebauet ein stdttliches Haus is first given out by the trumpets. Der Landesvater (Hort, ich sing' das Lied der Lieder) is used rhythmically, delightfully developed.

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15 The Fuchslied or Freshman's Song (Was kommt dort von der Hdh') is the choice of the unbuttoned Brahms, and leaves all educational solemnities behind. The air is introduced by two bassoons. When Brahms wrote Kalbeck that he had composed 'a very jolly potpourri on students' songs a la Suppe/ Kalbeck inquired jokingly whether he had used the 'Fox song.' 'Oh, yes,' said Brahms complacently. Kalbeck, taken aback, protested that he could not imagine any such tune used in homage to the 'leathery Herr Rektor,' and Brahmsi answered: 'That is wholly unnecessary.' Brahmsian horseplay does not get quite out of hand, and the dignities are saved beyond doubt when the full orchestra finally intones the hearty college hymn Gaudeamus Igitur.

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17 1

HANS WERNER HENZE Symphony no. 1 Program note by Peter G. Davis

Henze was born in Giitersloh, Germany, on July 1 1926. The instrumentation: flute alternating with piccolo, alto flute, oboe, english horn, clarinet, bass clarinet, 2 horns, 2 trumpets, timpani, celesta, harp, piano and strings.

Hans Werner Henze completed his First Symphony in 1947. Although only twenty-one at the time, the composer was taking an active part in post-war Germany's musical renaissance, and his compositions were already attracting a good deal of attention. His Chamber Concerto for Piano, Flute, and Strings had been prominently featured at the 1946 International Summer Course of Modern Music at Darmstadt — the first annual gathering at a site that was shortly to become one of the avant-garde's most formidable strongholds — and during Darmstadt's 1947 summer session Hermann Scherchen directed the second move- ment of the young composer's new Symphony no. 1. The first complete performance of the work took place one year later at the Bad Pyrmont Festival on 25 August, when the conductor was Wolfgang Fortner, Henze's teacher and a noted composer in his own right.

The Symphony no. 1, as performed by the Boston Symphony Orchestra today, however, is a different piece altogether: in 1963 Henze thor- oughly revised the score for small orchestra and subsequently withdrew the original version. Here we have the familiar case of a composer looking back at a youthful work, no doubt delighted with the origi- nality and freshness of its conception, but also somewhat appalled by what he now sees as unacceptable crudities in compositional technique. Henze has even proclaimed the score an 'utter failure,' and in the. revision his object was to 'reorganize the material, attempting tol reconstruct what I had originally intended: acting like a teacher help-' S fully correcting his pupil.' Interestingly enough, this was not the composer's only Jugendwerk to undergo drastic 'correction' at the time. The early 1960s saw Henze in the throes of a difficult stylistic reappraisal, a reordering of his musical language in the direction ofj simplicity, economy, and restraint. As a consequence, many of his earlier works now struck him as either impractical and extravagant; (such as the gigantic four-hour opera Konig Hirsch) or, like the First' Symphony, simply unsuccessful. This stock-taking resulted in a re- examination and recasting of at least ten major pre- 1958 compositions.! Although the original score of the Symphony no. 1 is no longer avail- able for study, one has a fairly clear idea of the problems that must have troubled Henze. Very nearly all his earliest works — even the

Peter G. Davis, born in Concord, Massachusetts, grew up in Lincoln and Cambridge. He was graduated from Harvard College in 1958 with a B.A. major in music; then studied composition at the Stuttgart Hochschule filr Musik. He did graduate work at Columbia University, where his teachers were Jack Beeson and Otto Luening, and was awarded an M.A. degree in composition. He is now Music Editor of High Fidelity/Musical America, and New York music correspondent for The Times of London.

18 " I THE BOSTON SYMPHONY

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19 most proficient and attractive of them — are extremely derivative. It was as if the composer had suddenly stumbled upon Stravinsky, Schoenberg, Bartok, and Hindemith, and his delight at discovering such potent twentieth-century creative minds occasioned a series of compositions that were little more than brilliantly talented copies. And such indeed was the case. During World War II, Germany had heard precious little in the way of progressive contemporary music, and young German composers had a lot of catching up to do. Henze proceeded to do just this by basing his music on the very best models: the Concertino for Piano and Wind Orchestra with Percussion (1947), for example, a lean-textured, neo-classic work that has Stravinsky's fingerprints on virtually every page; a Bartokian Violin Concerto (1947) literally bursting with passionate melodic fervor; or the Wind Quintet (1952), a cheerful exercise expertly cast in Schoenberg's twelve-note technique.

Gradually these widely divergent stylistic influences began to coalesce into a highly individualistic musical character as the composer became more selective in his choices and more adept at assimilating the ele- ments necessary to make his own musical points. When Henze took up residence in Italy after 1952, the change in environment infused his music with a new-found textural luxuriance and melodic sensuousness. The Italian sun seemed to be the catalyst he needed for a final syn- thesis—between 1952 and 1955 Henze wrote Konig Hirsch, which marked a pivotal point in his career, a profusive unleashing of creative

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energies unmatched by any other composer of his generation. In the exhilarating wake of Konig Hirsch came Nachtstiicke und Arien, Five Neapolitan Songs, Sonata for Strings, Three Dithyrambs, the ballet Ondine — all reveling in a virtuosic security of technique and a natural ease of expression. Few composers have been quite so lavish with their talents as Henze during these years and eventually, perhaps inevitably, he had to check his generosity and take a long, cool look backwards. One direct result was the new version of the First Symphony.

Clearly the Symphony in its new form reflects less of the twenty-one- year-old student than the mature composer of thirty-seven. While still not a work of startlingly individual profile, its musical antecedents have been thoroughly distilled into melodic and sonorous properties that Henze may justifiably claim as his own. Structurally the piece is immaculate — not one note seems superfluous or out of place. And when compared to the Second and Third Symphonies (1949 and 1950), one finds a far freer and more personal application of serial procedures. Melodically and harmonically the work is governed by related intervals of the second, seventh, and ninth as set forth in the opening measures of the first movement. The groundwork having been laid, the balance of this movement consists of a gradual unfolding of a long-lined, disjunct melody based on these intervals — first played at maximum intensity by the upper strings, then continued in turn by the cellos, horns, solo flute, and finally strings once more, always lightly accompanied by delicate splashes of orchestral color from the other instruments. The second movement, subtitled Notturno, depends almost entirely on the major second for its harmonies (woodwind chords formed by com- bining C-minor and B-flat-major triads recur refrain-like throughout this section) as well as for its slow-moving, conjunct melodies. The final section of the Symphony contrasts markedly with the prevailing lyricism of the preceding material. Its restless moto perpetuo character and sharp brassy interjections actually disguise a highly altered picture of musical events already encountered in movements one and two. © Peter G. Davis

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23 NIKOLAY ANDREYEVICH RIMSKY-KORSAKOV Sheherazade op. 35 Program note by James Lyons

The instrumentation: 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones and tuba, timpani, side drum, bass drum, cymbals, tambourine, triangle, tam tarn, harp and strings. Rimsky-Korsakov was born at Tikhvin in the Government of Novgorod on March 18 1844, and died at St Petersburg on June 21 1908. The composer conducted the first performance of Sheherazade at the Russian Symphony concerts in St Petersburg in the winter of 1888. Its first performance in Boston was on April 17 1897 by the Orchestra under the direction of Emil Paur.

Hyperbole is not history, but a case can be made for the proposition that 'Russian music' as a concert-hall genre was born — and died — with Rimsky-Korsakov.

We need to remember that secular music came late to Russia. For cen- turies its performance in any fashion was literally forbidden, and only the monodic, unaccompanied znamenny chant and its variants were heard in the land. This is not to say that there were no furtive bards. There must have been some clandestine music-making even in medieval Muscovy; Slavic song is an ethnic treasure-trove, and such a heritage had to be a long time building. But music was indeed proscribed, and even the mighty Czar Alexis got into trouble when he imported a group of Western musicians in 1648. The then-mightier Orthodox Church simply issued a ukase commanding 'that all musical instru- ments were to be broken up and burnt.' Whereupon five wagonloads were destroyed, and the Czar went without music even as his humblest subjects did.

His son had better luck. Ecclesiastical schisms served to strengthen Romanov power, and in 1703 Peter the Great was able to lay the foundation of his glittering new capital at the mouth of the Neva, a window through which his people might look into Europe, as someone once put it succinctly. Music was to be another long time coming, nevertheless. The birth of Mikhail Glinka, the first real Russian com- poser, was still a hundred years away. When the violinist Louis Spohr went to St Petersburg in 1802, he was startled to find that the musical community was populated mostly by non-Russians. In keyboard pedagogy, for example, the scene was dominated by an Italian, Muzio Clementi, and an Irishman, John Field. Two decades later, when Glinka himself was a burgeoning pianist, what he performed were concerti by such as Hummel; and when he attended the Imperial Opera what he heard were works by such as Boieldieu, Cherubini, and Mehul. Later yet, the so-called Russian school of fiddling would be founded by the Hungarian emigre Leopold Auer.

James Lyons, an alumnus of the New England Conservatory and a graduate of Boston University, was born in Peabody, Massachusetts. He wrote about music for The Boston Post and The Boston Globe, and contributed to The Christian Science Monitor. He was editor and critic for Musical America, and has been for ten years the editor of The American Record Guide.

24 (1 • 11|

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25 But by then (1868) the necessary cross-pollination was accomplished. The emergence o£ a truly Slavophilic climate of creativity had been signalized only the year before with a concert at Mily Balakirev's institute which prompted Vladimir Stasov to coin the collective sobriquet (initially pejorative, and as it turned out not at all prophetic) usually translated as 'The Mighty Five' — namely, Balakirev himself and four of his proteges: Borodin, Cui (both already in their thirties), Mussorgsky (born 1839), and Rimsky-Korsakov, at twenty-three by far the youngest member of Balakirev's inner circle. After nearly a century of perspective Mussorgsky remains an V factor in music history. That he was a raw genius and that he was harmoni- cally and otherwise ahead of his time is beyond question. What is not beyond question is the extent of his actual influence. He seems to have been less seminal than unique (like Tchaikovsky outside the 'Five'). Balakirev had considerable influence on his students, but it ended there. Borodin had none, but he left behind some marvelous music. Cui had none, either; and for better or worse his music died with him.

Rimsky-Korsakov was something else: he was heir to no codified national heritage; Glinka, for all his deification, had done little more than put peasant clothes on Italianate models. Rimsky hoisted a new standard; his art was of international quality, but its essence was passionately Russian. After his passing (in 1908), that standard went down with the way of life it had graced. Of his prize pupils, Stravinsky soon departed the homeland to pioneer other paths and later saw them

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27 paved as roads to neoclassicism. Prokofiev was sworled up in the vortex of Sovietism and turned his immense gifts to dialectical pamphleteer- ing. The proud nationalism which Rimsky had implanted in the musical firmament shone brightly but only briefly, then, before it fell victim to guilt by association with the Romanov dynasty. But its resplendent spirit and substance are still there, in the scores; and no latter-day Russian composer has escaped their influence.

The extent of this influence may be inferred in the irony that for all his aristocratic background Rimsky is today billed in the Soviet Union as a hero of communist culture. He must have turned over in his grave on March 18th 1944, when the Kremlin keepers of 'the people's music' installed him in their private Pantheon. That date marked the centennial of Rimsky's birth, and World War II did not deter the calendar-conscious commissariat from unveiling a statue in Leningrad, announcing a handsome edition of his complete works, and releasing a 'scientific but popular' film depicting his dedication to Marxism. This in memory of a man who had copiously set down his admiration for the United States — where he had spent seven months in the autumn through spring of 1863-4. It is true enough that Rimsky had his trou- bles with the imperial household and its censor-happy functionaries. But one shudders, reading Rimsky's Chronicle of My Musical Life, to imagine the ignominies this nonconformist would have suffered at the hands of their doctrinaire successors. Parenthetically, anyone who scans the history of Russian music over the past century is bound to be struck by a further irony: government THE BOSTON HOME, INC. Established 1881 2049 DORCHESTER AVENUE • BOSTON, MASS. A Home for the Care and Treatment of Women Who Are Afflicted with Incurable Diseases ~~x :^~^

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support of the creative arts has been a constant factor throughout, though in dramatically different ways. Balakirev sustained himself initially by working as a clerk in the imperial railway system. Mus- sorgsky was an employee of the department of forestry. Borodin was on the faculty of the imperial academy of medicine. Cui was an army engineer. Earlier, Dargomyzhsky had been with the department of justice. (And if Glinka had not been wealthy, nor Tchaikovsky pro- vided for by a rich widow, probably they too would have been public servants.) However modestly or indirectly, the house of Romanov pro- vided a measure of subsidy to aspiring composers long before the Revolution. Rimsky was perhaps the luckiest of them: he got to 'see the world' as a cadet, and later an officer, in the imperial navy.

As the scion of an old seagoing family with a distinguished ancestry of braid and brass, Rimsky donned his uniform as a matter of course when he was seventeen. As with his French counterpart Albert Roussel, it was the song of the sirens and not the muse's smile that beckoned most compellingly. But from 1865 forward he drew shore duty in St Petersburg, and almost at once he gravitated to the musical group therapy of the Balakirev salon. There he 'picked up all sorts of smatterings' and even produced, not without assistance, the symphonic poem Sadko (not to be confused with the opera of the same title, which came three decades later).

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The National Shawmut Bank of Boston Personal Trust Department Not until he was twenty-seven, however, did Rimsky get down to learning the musical craft systematically, and under circumstances without parallel in the history of the tonal art. The short of this fantastic story is as follows. In 1871 the St Petersburg Conservatory got a new director, one M. P. Azanchevsky. He had heard Sadko, and liked it. Sadko was, in fact, all he knew about Rimsky. But for him iti was enough. One of his first executive acts was to seek out the young officer (Rimsky did not shed his uniform until 1873) and invite him to join the faculty as a full professor of composition. Evidently the director was quite unaware of Rimsky's technical incompetence, and the latter's embarrassed reluctance only made Azanchevsky more deter- mined to get him. 'Had I ever studied at all/ Rimsky recalled long years afterward, 'had I possessed a fraction more of knowledge than I actually did, it would have been obvious to me that I could not and should not accept the proffered appointment. ... I was a dilettante and knew nothing. This I frankly confess and attest before the world.' But all of Rimsky's friends urged him to take the job, even though it was to include conducting the school orchestra — and Rimsky had never stood before any orchestra in his life! Rimsky did accept the professorship, 'my own delusions, perhaps,' having prevailed. Whereupon, in darkest secrecy, he started studying. Somehow he made enough headway before the fall term opened to stand before his classes unafraid, and for the rest of that academic year he managed to keep at least a step ahead of the brightest students. The hoax was indefensible, but Rimsky carried it off brilliantly. He not only justified his self-confidence but also, in time, earned the

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33 highest esteem of his peers. He was to serve uninterruptedly at the St Petersburg Conservatory until his death thirty-seven years later — except for a few months in the ferment of 1905 when he was relieved of his duties for defending the academic rights of revolutionary stu- dents. (It is clear enough to any close reader of the Chronicle that he took his stand as a matter of principle, not politics; but the official Soviet perception of this episode is of course altogether different.) Nor did Rimsky's assiduous pedagogical career detract from his steady creative growth, which continued to the very end. On the contrary, he started composing what is probably his greatest work, Coq d'or, only after completing his memoirs, on the last page of which he suggests (at the age of sixty-two) that it might be 'high time to write finis to

.' my career. . . Like most of Rimsky's music the symphonic suite Sheherazade was turned out between semesters. In the spring of 1888 he had sketched two pieces. One would become the Russian Easter Overture; the other, not yet clearly in his mind, would be based on certain episodes from the 'Arabian Nights' collection. It took shape quickly once he was ensconced in his retreat for that summer, which was a friend's estate at Nezhgovitzy, on Lake Cherementz. The score seems to have been polished to perfection in less than a month; the movements are dated July 4th, 11th, 16th, and 26th, respectively. It was dedicated to Stasov. A surfeit of nonsense has been written about the supposed program- matic content of Sheherazade. All of it, to be charitable, may be traced to the following few lines, which appeared as a preface to the earliest published score: 'The Sultan Shahriar, persuaded of the falseness and the faithlessness of women, has sworn to put to death each one of his wives after the first night. But the Sultana Sheherazade saved her life by interesting him in tales which she told him during one thousand and one nights. Pricked by curiosity, the Sultan put off his wife's execution from day to day, and at last gave up entirely his bloody plan.

34 - , v 'Many marvels were told Shahriar by the Sultana Sheherazade. For her stories the Sultana borrowed from the poets their verses, from folk songs their words; and she strung together tales and adventures.'

Similarly, lyrical annotators have 'strung together tales and adven- tures;' indeed few works in the standard orchestral repertoire have been so importuned. True, Rimsky remarked that he had been think- ing of such 'unconnected episodes' as 'the fantastic narrative of Prince Kalandar, the Prince and the Princess, the Baghdad festival, and the ship dashing against the rock with the bronze rider upon it.' He also spoke of the solo violin as 'delineating Sheherazade herself telling her wondrous tales to the stern Sultan.' But in his later years Rimsky was impelled to forswear any intentions of a specific program, and he even went so far as to renounce the outline implicit in the movement designations:

'In composing Sheherazade I meant these hints to direct but lightly the hearer's fancy on the path which my own fancy had traveled, and to leave more minute and particular conceptions to the will and mood of each listener. All I had desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied

.' fairy-tale wonders. . .

Rimsky's belated disclaimer did not stop the flow of foolish words about Sheherazade, which continues still. But at no time since the premiere has there ever been a shortage of listeners who 'like' the piece, either because of its 'story' or in spite of it.

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37 HANS WERNER HENZE Germany's Wonder Composer by Peter Heywortb

As a young soldier of eighteen stationed in Prague near the end of the war, Hans Werner Henze was spat on by a Czech woman to whom he had offered his seat in a tram. Less than a year later, he returned to Germany to find his country in a state of moral and physical disintegra- tion that has no parallel in modern times. Though he did not then know it, he was to become the leading composer of a postwar genera- tion that would have to live with the sins of their fathers, and not merely with the terrible acts they had committed on other peoples but with the irreparable damage they had inflicted on themselves.

German energy, like German hatred of nonconformism, is motored by an almost pathological fear of disorder. Ordnung muss sein, and like beavers the Germans in 1945 set to work to clean up the mess. Out of the acres of devastation, stinking of charred flesh, there arose sleek modern opera houses and concert halls, replete with foyers full of well- upholstered matrons pushing their way to the cake counter before embarking on the traditional, one-direction-only promenade. Pub- lishers, periodicals, orchestras, official hierarchies, were all soon recon- stituted, and in next to no time the wheels of Germany's great music- making industry were efficiently turning once more. But the Nazis had, of course, done more than merely destroy the outer, physical manifestation of German musical life. They had done some- thing far more terrible: they had snapped its creative main-spring. In twelve years they had turned the country that had for over a cen- tury and a half been the hub of Western music into a creative desert. Schoenberg was living out his last impoverished years in California. Webern, gentle, guiltless Webern, had been shot by an American soldier, panic-stricken in the darkness of a strange Alpine village. Hindemith was in exile at Yale; Berg had died of a blood poisoning that ten years later a couple of shots of penicillin would have cured; Weill had succumbed to Broadway. All that remained were two aged representatives of late romanticism: Pfitzner, a sick and embittered old man, and Strauss, who in the Metamorphosen, written in the last days of the war, had mourned the destruction of the Germany of his prime and then removed himself to the calmer air of Switzerland. Insofar as there was a younger genera- tion, it was represented by the genuine, if slim, talent of Carl Orff and the rather spurious figure of Werner Egk. The Nazis had spent lavishly on the arts. But all the splendors of Bayreuth under the Fiihrer's personal patronage and a glittering series of premieres of Strauss's late operas had not been able to disguise the fact that, long before 1945, German music had come to a full stop.

It was in these conditions that in 1946 Henze went to Heidelberg to study with Wolfgang Fortner. To Fortner, Henze owes his thorough technical schooling. But the only outside influences that his teacher

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39 could offer in those months after the war, when occupied Germany still remained largely isolated from the outside world, were those of Hindemith and neoclassical Stravinsky. The latter Henze gobbled up greedily. But his essentially romantic temperament (the autumnal melancholy of Trakl, an Austrian expressionist poet, had at that time a special charm for him) yearned for richer soil. Schoenberg's music was still largely unknown in Germany, for the bulk of his school had been scattered over the four corners of the earth. But in 1947 Henze took his first hesitant steps in dodecaphonic technique. He has related how this gave him (as it probably still does) both a new-found feeling of freedom and yet a certain fear of its intellectual severity. In 1948 he temporarily resolved these doubts and went to study with Rene Leibowitz in Paris. Thus by the age of twenty-two he had already encountered the two main musical influences on his style: Schoen- bergian counterpoint and Stravinskyan neoclassicism.

On his return to Germany, Henze threw himself into the world of ballet and for a while worked in theatres in Constance and Wiesbaden. On the face of it, this was a curious leap for a freshly baked Schoen- bergian. But in fact it was altogether characteristic of Henze that, while other composers of his generation (one thinks of such men as Boulez, Nono, and Stockhausen) were busy drawing all sorts of radical conclusions from the dodecaphonic inheritance, he should have em- braced the least intellectual and most directly sensuous of the theatrical arts. The distance between the world of Schoenbergian dodecaphonism and the world of ballet marks the frontiers of the immense musical territory Henze had set out to colonize.

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During the late Forties and early Fifties, the very years when the post- Webernian school was working out the rigorous dogmas of total serialism, Henze wrote no less than ten ballet scores, and indeed the spirit of ballet penetrates most of his early music, the Symphony no. 3 (1949) no less than his first opera Boulevard Solitude. Written at the age of only twenty-four, this retelling of Prevost's Manon Lescaut in terms of present-day Paris inevitably suffers from a certain youthful eclecticism. But it also reveals Henze's phenomenal ability to bend all sorts of music to his purpose as well as to communicate a strong sense of atmosphere and drama. By a cruel irony he achieved in this im- mature score a sense of dramatic timing that has eluded him in most of his later operas. But Henze did not remain for long in Germany. As the Economic Miracle got under way, there came into existence a new complacent society, intent on covering the past under a heavy blanket of material prosperity. Henze himself is certainly no puritan in his style of living, but he could not bury the past. Born in Westphalia and the son of a schoolmaster, he had grown up under the Third Reich and had seen Nazism at close quarters. His loathing of what he experienced is undying. But even more than the new rich, Henze hated the cultural elite that had arisen out of the ashes of the Third Reich. As though to demon- strate a total break with the immediate past, and at the same time to reassert its place in Europe, the German musical intelligentsia threw itself with eclat into a new wave of Modernismus. Had not Germany led the field before 1933? Very well, she would do so again, and, bolstered by her unique resources for music making, she had by the early Fifties reasserted her position as the lynch-pin of the avant-garde. The money and the musicians were there, the will to use them was there, the avant-garde critics and publicists were there, the com-

posers. . .

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43 tellectuals 'das Land wo die Zitronen bliihen' has traditionally exer- cised an intense and fruitful fascination. For Henze, Italy was more than a refuge from everything he most disliked in his own country; it was the long sought anima to his German soul. His love affair with the country of his choice has been long, passionate and lasting. Some- times his love has taken almost touchingly naive forms, and an Italian's unkind description of his Five Neapolitan Songs as 'tourist post cards' contains a tiny element of truth. But for Henze, Italy has brought liberation and to this extent he is a characteristic expression of the Europeanized young Germans of today who have sought escape from an uncomfortable national heritage in wider loyalties.

Above all, Italy meant melody in general and opera in particular, and Henze had hardly settled in Ischia when he embarked on what he at that time liked to refer to as 'my Italian opera.' Of course Konig Hirsch (II Re Cervo or King Stag) is no such thing. It does admittedly contain many of the outer forms of Italian opera: it has arias, cabalettas, duets, canzoni, and ensembles in abundance. But Henze was far more deeply immersed in and committed to the whole symphonic tradition of German music than he then realized. Some of the finest things in the score, such as the finale of the second act (which was later detached and emerged as his Fourth Symphony), are essentially sym- phonic in conception, while his attempt to find his way to the heart of Italian melody without aping its outer manners is rarely wholly success- ful. Equally, nothing could be less Italian than the metaphysical mystifications of Heinz von Cramer's text after Gozzi. Indeed, the very notion of an Italian opera that in its original form was almost as long

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legance in action . . .with the greatest "inside story" in fine car history as Die Meistersinger is not without its comic side. But with all its faults Konig Hirsch is a cornucopian score. Ideas are poured forth in spendthrift profusion. Not since young Strauss had any composer achieved quite this degree of riotous invention. It was a tremendous achievement for a man of only twenty-nine and it marks both the end of Henze's youth and the beginning of his maturity.

Such a torrent of invention was possible only on a wide stylistic basis. Indeed the significance of Konig Hirsch lies less in its much talked of Italianate elements than in the fact that in it there emerged for the first time a composer who was the heir of both Schoenberg and Stravin- sky, who drew nourishment from two schools previously regarded as irreconcilable. It is this synthesis that has enabled Henze to operate on such a wide front; and to it all other influences — whether ballet, jazz, or Italian opera — are subordinate, although they of course play an important part in individual works. Inevitably, the cry of 'eclecticism' went up, and nowhere more vehemently than in Germany, where the serialist avant-garde was by this time firmly in the saddle.

Blissfully unaware that its leading exponent, Pierre Boulez, was quietly preparing to leave the ship and that his desertion would be only the first of many, avant-garde German critics and composers were busy pouring contempt on all who had not signed on the dotted line. (Today, of course, a comparable team of critics, publicists, and bureau- crats serve the aleatoric movement with similar dogmatic fidelity.)

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Wowcome all jHr* i the music-lovers ire readin rhe Globe these days? Henze was widely dismissed as ' positionslos' and 'schwankend,' and his admittedly somewhat culinary three-act ballet Ondine, written for Frederick Ashton and the Royal Ballet, was considered a final betrayal of the progressive cause. Henze, for his part, tartly reminded his critics that music was written not by groups but by individuals. But there can be no doubt that he felt his isolation keenly. Alienated from the avant-garde, he had not yet quite established himself as an independent figure of significance.

Nonetheless he stuck to his guns, and his next big work was an opera based on Kleist's great play Der Prinz von Homburg. This subject, which had been suggested to him by Luchino Visconti, was Henze's first approach to a specifically German theme. Kleist's drama turns on the inner conflicts of a hero who is both a poetic dreamer and a Prussian general, and thus embodies both sides of an age-old conflict in the German breast. Unfortunately, Henze and his librettist, Ingeborg Bachmann, were so anxious to play down anything that savored of German nationalism that they reduced the Prince to a mere ninny and in doing so castrated the play of its inner tensions. This error is reflected in a score that is 'beautiful' (in particular, its textures have a translucent sensuality characteristic of much of Henze's later music) yet theatrically rather spineless.

Fortunately, in his next stage work Henze found what had previously eluded him — a libretto with dramatic point and intellectual substance. As a direct result, Elegy for Young Lovers, a chamber opera on a text

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49 by W. H. Auden and Chester Kallman, is the most successful of his operas up to this stage of his career (1961). Here he was given no chance to indulge his dangerous gift for mood and atmosphere, but for the first time in his operatic career was obliged to come to grips with real characters and the dramatic conflicts that grow out of them. The opera is not without its faults. In particular the first act lacks pace and buffo spirit. But it is fascinating to observe how the demands of the text brought his melodic idiom into sharper focus than he had hitherto achieved. There were gains in other directions. Henze had long been a master of orchestration, but here he excelled himself, and in its rich range of color and texture as well as in its relaxed contrapuntal in- genuity the opera stands as the culmination of a long time of chamber works dating from the late Fifties and early Sixties.

Elegy for Young Lovers established Henze as a composer of world-wide repute. It was performed at the Schwetzingen, Glyndebourne, and Munich festivals. It was seen in Berlin, Rome, and New York. For the first time since the prime of Richard Strauss, Germany had a productive and viable opera composer. Demands for new works poured in from all corners of the musical world. Leonard Bernstein commissioned a new symphony (no. 5) for New York, the London Philharmonic Society commissioned the big cantata Novae de Infinite Laudes, which is perhaps his most striking concert piece to date. Berlin commissioned an opera (Der junge Lord), and so did Salzburg. Nureyev asked for a ballet score for Vienna, Edinburgh a piece for Irmgard Seefried and her husband Wolfgang Schneiderhan (Ariosi). And all the while there was a steady stream of minor works, such as the intimate and lyrical Being Beauteous, a setting of Rimbaud for soprano and four cellos. Henze also started to be in demand as a conductor of his own music and, enraged by the presumption of present-day producers, also began to produce (and even design) his operas.

Success is often less damaging than the unsuccessful like to suppose, and Henze has probably gained from the confidence it has brought him. At all events, he is less preoccupied with his feud with the avant- garde. But in other ways success has put him into a dangerously V J Boston's Truffles at the Ritz, Italian course Famous of Restaurant The Dining Room Open 7 Days 11 A.M. to 1 A.M, Free Attendant For Reservations open noon till 9 p.m. Parking Tel. Rl 2-4142 iDolcarta THE RITZ ^CARLTON * 283 Causeway St. BOSTON (1 minute from No. Station) r All major credit cards accepted 50 -.

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51 exposed position. The lack of any comparable figure in his generation means that the demands on his creative energies are unrelenting. Any festival, opera house, or orchestra wanting a first performance that will attract the general public (as well as critics and others professionally concerned with contemporary music) almost inevitably turns to him with enticing terms. Henze has always been a fast worker, and when one considers the productivity of Mozart and Schubert, not to mention Rossini and Donizetti, one may be tempted to dismiss doubts raised by his huge output as just another reflection of the musical puritanism so characteristic of our times.

Still, an impression persists that he writes too hastily and that this results in marked unevenness of quality. In addition to minor works, the last two years alone have yielded two large-scale operas, and between them these well illustrate the strengths and weaknesses of his recent music. Der junge Lord (1965), Henze's first comic opera, has been a more immediate success than any of his other stage works. Nonetheless, it seems to be his shallowest and least precise operatic score to date.

Ingeborg Bachmann's libretto is intended as another swipe at the German bourgeoisie. The target is, God knows, large enough, but neither Henze nor his librettist has taken aim with sufficient precision, nor has either been scrupulous enough in the choice of an instrument of chastisement. As is so often the case where a composer has rested content with attitudes rather than pursuing his subject matter to its

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53 emotional and intellectual conclusions, the failure is directly reflected in the music. The score of Der junge Lord is skillful, fluent, and (up to a point) apt. But, like Der Prinz von Homburg, it cuts no dramatic ice, it reveals little insight into character that goes beyond parody, and, though it has its farcical moments, it is for a comic opera singularly lacking in comic spirit. Indeed, it appears that, with belated percep- tion, Henze has now himself declared the work not to be comic at all.

Fortunately, The Bassarids, which was given its premiere in Salzburg J in August 1966, shows the reverse side of Henze's qualities. Auden and I Kallman have their quirks as librettists and their text is often gratu- itously obscure in language and allusion. But, unlike the libretto of Der junge Lord, it does represent a real Auseinandersetzung with its subject matter. They have taken The Bacchae of Euripides, rethought it in modern terms, and recast it in operatic form. The result is by far the most powerful and demanding libretto that Henze has as yet tackled, and, forced by its quality to come to grips with the subject matter instead of skating over it as in Der junge Lord, he has responded with the finest score he has yet written.

The opera is conceived as a vast four-movement symphony played without interval for two and a half hours. It has its blank spots and its failures. For instance, the first movement is slow to fulfill its task of projecting the basic conflict between Dionysus and Pentheus, the rationalist king of Thebes. A comic intermezzo founders on Henze's inability to forge a real buffo style. But the score as a whole develops an emotional power and a dramatic impact far outstripping anything in the earlier operas. One of the sources of this new-found range is that, at the insistence of his librettists, Henze has in The Bassarids finally made his peace with Wagner, with the result that he here has at his command the resources of motivic technique. Like Der Prinz von Homburg and Der junge Lord, The Bassarids has direct relevance to Henze's experience of the Third Reich, for it is about a society that literally goes off its head. But he has at last come to terms with his full musical heritage, with Wagner and Strauss as well as Schoenberg and Berg, and the result is his most strongly sus- tained and deeply felt opera. In the face of it, those who have chosen to regard Henze as nothing but a skillful eclectic will have to think again. © High Fidelity — Musical America. Reprinted by permission.

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55 Today's conductor CHARLES WILSON, Assistant Conductor of the Boston Symphony Orchestra, made his official debut on October 6. He came to Boston from New York City, where for six years he was a conductor and on the musical staff of the New York City Opera Company, performing fourteen different operas and operettas, including Don Giovanni, Boris Godunov, The Merry Widow and Street Scene. In the fall of 1966 he conducted the New York City Opera Company's produc- tion of Menotti's The Consul both at Lincoln Center and in the Mid- west. He is conducting four performances of Mozart's The Marriage of Figaro during the present season. Charles Wilson received a Bachelor of Science degree in Music in i960 from the Mannes College of Music where he studied organ with Dr Hugh Giles, and with Carl Bamberger, his only conducting teacher. For two years Mr Wilson served on the Mannes faculty as Director of the Mannes Chorus, and during the 1961-1963 seasons was chorus master for the Philadelphia Lyric Opera Company. Charles Wilson conducted the opening concert of the Berkshire Music Center Orchestra at Tanglewood this summer, and was in charge of the preparation of the Tanglewood Choir and the Berkshire Chorus for performances of Bach's Mass in B minor, Beethoven's Fidelio and Verdi's Requiem.

Recordings of today's program

Henze's First Symphony is included in a two-record DGG album of his symphonies 1 to 5, played by the Berlin Philharmonic Orchestra under the composer's own direction.

The Academic Festival Overture is currently available in 15 recorded versions. Performances led by two previous conductors of the Boston Symphony Orchestra may be of interest: Serge Koussevitzky on RCA Victor in a recording dedicated to the Bicentennial Anniversary of Princeton University with the Boston Symphony Orchestra; and Pierre Monteux with the London Symphony Orchestra on Philips. There are 20 recordings of Sheherazade to choose from: Mr Leinsdorf leads the Concert Arts Symphony in a performance on Capitol; there is a Thase-4' recording by Leopold Stokowski and the London Sym- phony Orchestra on London; and among others are those by Fritz Reiner and the Chicago Symphony, Pierre Monteux and the London Symphony, both on RCA Victor, and Sir Thomas Beecham with the Royal Philharmonic on Angel.

Exhibition The pictures hanging in the gallery are by the New England Artists' Group, which Roger Curtis founded in 1962 with the aim of showing the work of American artists as widely as possible through exhibitions. The group has presented shows throughout New England in schools, colleges and industrial organizations. The exhibition at Symphony Hall features oil paintings by members of the group. 56 Fleuriste Francais

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FUTURE PROGRAMS

Third Program y., . . ^

Thursday evening December 14 at 8.30

STANISLAW SKROWACZEWSKI guest conductor BERLIOZ Overture - Corsaire

LUTOSLAWSKI Concerto for Orchestra

BRAHMS Symphony no. 2 in D major

Fourth Program

Thursday evening February 8 at 8.30

SEIJI OZAWA guest conductor GLUCK Iphigenie en Aulide - Overture

BERNSTEIN Symphony no. 2 'The age of anxiety' YUJI TAKAHASHI

JOACHIM Contrastes

RAVEL Daphnis et Chloe - Suite no. 2

Fifth Program

Thursday evening February 22 at 8.30

ERICH LEINSDORF conductor

HAYDN The Creation BEVERLY SILLS, JOHN McCOLLUM, ARA BERBERIAN NEW ENGLAND CONSERVATORY CHORUS

Sixth Program

Thursday evening April 18 at 8.30

ERICH LEINSDORF conductor

STRAUSS Also sprach Zarathustra

MOZART Piano Concerto in E flat K. 449 LILIAN KALLIR

TCHAIKOVSKY Francesca da Rimini programs subject to change

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